04 - Out On The Western Plains
05 - In My Girlish Days
06 - Did You Mean
07 - It Calls That Religion
08 - 8.9 & 10

09 - (When It's) Darkness On The Delta

10 - You Rascal You
11 - Lotus Blossom

12 - Samson & Delilah

13 - Linin' Track

The Red Wine Serenaders could not choose the place best suited to their name and title of the new job, DOC in fact, to record the same: the old station now, a pleasant town at the beginning of the province of Bolzano lies in the valley of the Adige, among huge extensions of vineyards and orchards.

The combo drive from Milan (Veronica Sbergia, Max De Bernardi and Mauro Ferrarese, reinforced by the harmonic recordings of Marcus Tondo) with the permanent presence of the bass "Camuna" Alessandra Cecala, puts on record the feelings and the experience of many evenings spent on tour to Italy and Europe, what emerges is a studio album of rare beauty and elegance, as one that typically comes from a barrel in which aging, without haste, a robust red keep for but also great opportunities to sip when you want to do good. Following the metaphor RWS wine say that the mix generated from their respective experiences and technical characteristics of the musicians is a "Bordeaux blend" which expertly mixes the typical varietals that compose partedo fleshy and fruity elegance and softness of Merlot ( Veronica and Max), with the addition of the structure "bony" and powerfully tannic Cabernet Sauvignon (Mauro) and herbal notes, which give that bit of unpredictability, typical of Cabernet Franc (Alessandra and Marcus).

Folk, blues, ragtime, country, jug band and old time music, which draws freely from the American tradition between the two wars, in short, a melting pot of styles and genres, the band wields an extraordinary skill for variety and intensity of interpretation, are reviewed in the thirteen songs that make DOC a valuable treasure trove of musical knowledge. The selections are assembled in a ladder cleverly designed to give the listener the ups and downs of emotions, typical mood that characterizes their unmissable live set. So we pass from the suggestions jug of On The Road Again, typical of the sound of Memphis, to the swing of Just As Well Let Her Go, ending with the gospel of Samson & Delilah and the intense, amazing, hypnotic linin 'Track, a choral song unforgettable.

Max Mauro and a monstrous show versatility in playing any type of rope (probably also would be able to play a drying rack of clothes!), Their voices are full, rich and well intersect with the beautiful Veronica, capable of addressing the larger genera different, really a singer every day more flexible (also note: his performances with more rock Rusties) and Cecala also surprised at hand, how can we appreciate its workhorse, the traditional lead to success by J. Leadbelly version here in the very western, titled Out On The Wester Plains.

He was born in 1954 in Straubing, Germany to a German mother and American father. His early years were spent partly in New York City and Straubing, Germany. At the age of 16 he chose to become a German citizen, due to his objection to the Vietnam war. After initial classical piano training, he began to teach himself Blues Piano in the early seventies and also the harmonica. A few years later he picked up the guitar which became his favorite instrument.

In 1976 and 1977 he travelled extensively in the USA. During this time, he spent time with Blues legend Furry Lewis in Memphis and became friends with Bluesman Johnny Long in Denver, Colorado, who was to be Willie's greatest influence. Johnny also introduced him to some of his heroes like Homesick James and Muddy Waters. Willie played in Coffee Houses, Restaurants and Clubs.

In 1981, after his return from another lengthy stay in the USA, mostly in San Francisco, he recorded his debut album Moon Goin' Down which included some of his own songs. He performed up and down the South of Germany and on occasions in the USA until around 1985.

Then, after a break of several years Willie Salomon started to tour again and since then has enjoyed great reviews both on stage and from his recordings. In 2001 he recorded the CD The Basement Sessions together with his friend, the English singer/guitarist Barry Denyer and in 2003 they toured in the South of England.

His solo CD Country Blues & More was published in 2004 by Acoustic Music Records.

Memphis Piano Blues Today collects a number of latter-day recordings from Mose Vinson. Although he's past his prime, the pianist is still in good form and, since he recorded so infrequently as a leader, this is a valuable addition to any serious fan of piano blues and Memphis blues.

Mose Vinson, one of the best Barrelhouse-pianists. He also spent most of his time in Memphis and made a lot of recordings in the 70s as a solo-artist or as accompaniment of Walter Miller, Dewey Cowley, Ann Pebbles and Miss Van Hunt.

Booker T. Laury, in his early seventies was discovered by Paul Savarin in took the place as an

intermission-pianist from Mose Vinson in the "Blues Alley". He learned piano mainly from Mose Vinson and Memphis Slim whom he claimed to be his cousin. When he sounded too Old-Time in the "Alley" he started a career as a solo-performer and in the last few years he did many tours in the states and to Europe, doing some recordings and establishing himself as renowned musician in the Memphis scene.

Review by Billy Hutchinson
Tom Shaka (Sciacca) is so far below the radar that it is truly incredible. This is the third CD that I have had the pleasure to review from this Connecticut born guy, with Sicilian ancestry who lives and works out of Germany. Armed only with his gritty voice, acoustic and resonator guitars and rack harp he is a complete Blues entertainer. Only two song titles are cover tunes, and the guy who plays with Louisiana Red and Steve Baker in Germany, also comes over several times like John Lee Hooker on his boogie tunes. Amongst the straight ahead Blues, A Spanish gypsy styled instrumental, plenty of social conscience material concerning American conflicts and politics. There are some well written songs within the recognised Blues medium, Tom Shaka is in his later years, and his music shows such a lived in and finished product. A touch of humour, a rag instrumental, Tom Shaka is out there because he feels and loves his Blues that is self evident!

Ryan Reardon, born in 1971 in Dallas, TX, was smitten by the blues bug in his college years. His experiences listening to blues, R&B, and rock go back even further than that. Ryan Reardon was constantly surrounded by music while growing up in Dallas and Colorado. His parents brought Reardon and his siblings up on the music of Janis Joplin, Bob Dylan, and the Beatles. In junior high he was charmed by the Fabulous Thunderbirds, thus began his interest in blues and '50s and '60s R&B, especially Ray Charles. Ryan Reardon lead a fairly normal adolescence with an emphasis on sports, but music always remained in the background. He joined a church choir at an early age and hung with musicians all through his high school years. Ryan Reardon went to Rhodes College in Memphis, TN, and his interest in music increased. After two years of playing college football, he was ready for something different. He took up the harmonica and bought a few records by Junior Wells and Jimmy Reed. He graduated in four years with a B.S. in Biology, took a job in Memphis, started an acoustic duo, and began hanging out at the Blues City Cafe's Tuesday night jams. Armed with a paycheck and plenty of free time, Ryan Reardon started building his record collection and practicing the harmonica in earnest. At the Blues City Cafe jam he was awestruck by Pat "the Reverend" Ramsey and befriended by Billy Gibson. Billy Gibson, then 26, was the up-and-coming harmonica player in town; he had his chops together and was more than willing to share some of his knowledge with Reardon. During that first year out of college, with the help of Billy Gibson, Reardon got his chops together enough to front the Blues City Cafe's House Band and do some singing. Reardon and Billy Gibson are still very good friends and exchange ideas regularly. Billy Gibson produced Ryan Reardon's debut CD, So Long, Baby.

When Ryan Reardon left Memphis for Tuscaloosa, AL, in 1995, he had the confidence and desire to start his own band. Reardon formed the Levee Breakers with guitarist Rob Robertson in June, 1996. The Levee Breakers went from a local upstart to a regional success in the matter of only two years. The rapid rise of the band was due exclusively to Reardon's and Robertson's hard work, their ability to communicate ideas easily, and Reardon's relentless drive to book the band. A confessed control freak, Reardon's vision was to create a band that had a feel similar to an ensemble, with a very distinct sound, original tunes, and a full tonal quality better than anything found in clubs. Ryan Reardon and guitarist Rob Robertson built the band on a formula-based on the Fabulous Thunderbirds' four-piece chassis. Reardon and Robertson wanted vocals, harmonica, and economic guitar playing on top of a swinging rhythm section consisting of electric bass and sparse drums, with Eric Simmons on bass and Matt Kimbrell on the drums, which is exactly what they have.

Since 1996, the band has developed into a well-rehearsed ensemble that generates an energetic and danceable batch of blues. Reardon has essentially grown up in front of his audiences and his band. He was once the precocious kid who played six times a month and hung out at any decent blues show in Alabama. Reardon is now a bandleader who has gigs 15 times or more a month. He leads three very important lives at once. First and foremost is his life as a performer and artist. Behind the scenes, however, he is an active bandleader who has recruited some of the finest players in the southeast area. Finally, but not the least important, he is a consummate professional who pursues gigs and delivers a well-rehearsed class act to the clients that book the band. As a performer and artist, Reardon's ears are wide open and he has many influences; there are several that stand out and are worthy of mention. Vocally, Reardon loves Jimmy Rogers and Slim Harpo; their relaxed delivery within the midst of a churning band gives their blues more tension than many of their contemporaries. On the harmonica, Reardon returns to three masters for solace and substance, they are Junior Wells, Slim Harpo, and Sonny Boy Williamson II. There is also plenty of James Harman in Reardon's playing. For songwriting ideas, Reardon listens to all kinds of players: once again, Junior Wells and James Harman, but also Mose Allison and Lyle Lovett. Reardon likes writers who are verbal but not always literal, writers who are articulate, and who can really turn a phrase. Reardon believes he has a different bandleading style than many of his harmonica-playing contemporaries. Most harmonica players tend to lean on instrumental prowess and get the band to follow underneath their playing. Reardon concentrates more on crafting a band that is fundamentally solid and sounds interesting. Once that's accomplished, he uses the harmonica to spice up the sound.

Ryan Reardon and the Levee Breakers' original and cover songs span the entire range of the blues genre. They lean heavily on shuffles, but there is plenty of soul-influenced material along with jazz-blues reminiscent of Jimmy Smith and Charles Brown. Reardon is always looking for new ways to expand on blues idioms, as long as the arrangements are swinging and the playing tasteful and tight. Reardon proclaims Junior Wells' 1965 album Hoodoo Man Blues is the center of his musical universe; the album is funky, cool, and very intense without being loud and noisy. As Reardon heads into multiple years as a bandleader, he is continually growing. His ears are getting better every day, he is taking music theory, he woodsheds when time permits, and he is still pushing his band into the next level of club and festival work. Walkin' in Golden Sunshine, Ryan Reardon and the Levee Breakers' sophomore effort released in April 2000, was another entertaining look into the blues realm which Reardon loves to explore and exhibit. In 2001, Ryan Reardon and the Levee Breakers could be found gigging throughout the southeast and raising money for future releases.

In 1970, Little Freddie King collaborated with Harmonica Williams to create “Harmonica Williams and Little Freddie King,” which is believed to be the first electric Blues album recorded in New Orleans.

This recorded on which one can hear the influences of his cousin, Lightnin’ Hopkins and Texas-born Chicago electric blues giant Freddie King.

After developing several musical styles, such as rock, jazz or country, and after being in many different bands (Zaztada, Fucking What! , Doppler etc.) in 2005 Ibon Larrañaga and Asier Elorza created a new project.

Both shared similar musical tastes, thus, they returned to their origins forming "Belceblues". Soon, the drummer, Oihan Vega, joined the group. In July 2005 they offered their first concert.

Taking the blues as it fundamental base, "Belceblues" works on more powerful sounds and joins choirs in different voices. We could say that they mix the tendencies of black music with the characteristics of white music.

Live concerts not only include their own songs in both Basque and the English but they also adapt songs of great myths and symbols of the blues, such us Steve Ray Vaughan, Jimmy Hendrix, Jeff Healey.

After a year, Belceblues reached the finale of the popular competition "Danbaka" in the year 2007.

During 2007 they also composed and recorded the official song for the Basque festival "Kilometroak 2007", "Argi da".

Meanwhile, they've shared stage with a lot of groups such as Network House, Slackwater and Jack.

They have edited their first CD "Infer" with Gazteplupeko Hotsak Music Company (www.hotsak.com), the only company of Spain specialized in blues music.

In 2008, the song "Infer" has been nominated by The Spanish Art and Music Sciences of the Music Academy for the 13th Spanish Music Adwards, like the best song in basque of the year. At the end, Belceblues hasn't won the prize. Benito Lertxundi is the winner with his song "Mirotzak".

Recently, they have offered a concert in The International Festival of Blues of Getxo, sharing the stage whit the most mythical blues star of the world, like Lonnie Brooks, and Koko Tylor, but she died and they have to suspend the concert.